BRIDGE Orchestral Works the Collector’S Edition

Total Page:16

File Type:pdf, Size:1020Kb

BRIDGE Orchestral Works the Collector’S Edition BRIDGE ORCHESTRAL WORKS The Collector’s Edition Sarah Connolly mezzo-soprano Howard Shelley piano Philip Langridge tenor BBC National Chorus of Wales Roderick Williams baritone BBC National Orchestra of Wales Alban Gerhardt cello Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Frank Bridge (1879 – 1941) COMPACT DISC ONE 1 Enter Spring, H 174 (1926 – 27) 18:36 Rhapsody Allegro moderato – Tempo giusto – Andante tranquillo – Tempo I – Energico – Andante molto tranquillo 2 Isabella, H 78 (1907) 18:00 Symphonic Poem after Keats Adagio ma non troppo – Allegretto moderato – L’istesso tempo – Allegro vivo – Adagio ma non troppo – Più adagio Two Poems for Orchestra, H 118 (1915) 12:58 after Richard Jefferies 3 I Andante moderato e semplice 8:35 4 II Allegro con brio 4:18 premiere recording 5 Mid of the Night, H 30 (1903) 26:05 Symphonic Poem for Orchestra Andante – Allegro moderato – Poco più vivo – Andante moderato – Allegro moderato – Andante moderato – Più lento TT 75:47 3 COMPACT DISC TWO premiere recording in this version 1 Dance Rhapsody, H 84 (1908) 19:16 for orchestra Allegro energico – Moderato – Allegretto moderato – Tempo di valse – Vivo – Allegro energico Five Entr’actes, H 95 (1910) 12:05 from the play The Two Hunchbacks by Émile Cammaerts (1878 – 1953) for orchestra 2 I Prelude to Act I. Allegretto moderato – Lento 3:20 3 II Intermezzo from Act II. Andantino 1:36 4 III Intermezzo from Act III. Allegretto (marziale) 1:19 5 IV Prelude to Act III. Lento 2:36 6 V Entr’acte between Acts II and III. Moderato 3:04 7 Dance Poem, H 111 (1913) 13:48 for orchestra Tempo di valse – Lento e languido – Tempo di valse – Largamente – Grazioso – Tempo di valse – A tempo, poco lento – Vivo – Presto 4 8 Norse Legend, H 60 (1905 / 1938) 4:48 for small orchestra Andante con moto The Sea, H 100 (1910 – 11) 22:08 Suite for Orchestra 9 1 Seascape. Allegro ben moderato 7:14 10 2 Sea-Foam. Allegro vivo 2:23 11 3 Moonlight. Adagio ma non troppo 5:50 12 4 Storm. Allegro energico – Allegro moderato e largamente 6:33 TT 72:34 COMPACT DISC THREE premiere recording 1 Coronation March, H 97 (1911) 6:49 Tempo di marcia, maestoso – L’istesso tempo ma poco largamente – Allargando – Tempo I 2 Summer, H 116 (1914 – 15) 10:42 Tone Poem for Orchestra Andante ben moderato – A tempo ben moderato e tranquillo – Animato – Tempo I ma poco tranquillo 5 3 Phantasm, H 182 (1931)* 24:21 Rhapsody for Piano and Orchestra Allegro moderato – Allegretto molto moderato – Lento e tranquillo – Allegro moderato – Andante molto moderato – Allegro moderato – A tempo energico e ritmico – Ben marcato – A tempo giusto – Andante – Allegro 4 There Is a Willow Grows aslant a Brook, H 173 (1927) 11:19 Impression for Small Orchestra Adagio e tranquillo – Poco allegretto – A tempo I – Animato appassionato e rubato – Tempo I ma poco più largamente e sostenuto – Lamentoso – Più tranquillo Vignettes de danse, H 166 (1938) 11:21 for Small Orchestra 5 I Nicolette. Andante moderato – Allegretto moderato – Andante – Allegretto – A tempo poco animato – Moderato – Lento 3:13 6 II Zoraida. Allegretto molto moderato 3:40 7 III Carmelita. Con brio – Grazioso – A tempo con brio 4:19 6 premiere recording in this version 8 Sir Roger de Coverley (A Christmas Dance), H 155 (1922) 4:41 for Large Orchestra Allegro con spirito – Tempo risoluto e più animato TT 69:51 COMPACT DISC FOUR premiere recording on CD 1 Rebus, H 191 (1940) 10:44 Overture for Orchestra Allegro deciso – Poco moderato – Tempo giusto – Ben ritmico – Tempo I – Moderato – Largamente – Moderato – Poco moderato – Allegro vivo 2 Oration (Concerto elegiaco), H 180 (1929 – 30)† 29:17 for Solo Cello and Orchestra Poco lento – Lento e ritmico – Allegro – Ben moderato (poco lento) – Poco lento – Allegro giusto – Tranquillo – Ben moderato, mesto e tranquillo – Cadenza – Allegro – Lento – Epilogue. Andante tranquillo 3 Allegro moderato, H 192 (1940 – 41) 13:24 Fragment of a symphony for string orchestra Edited by Anthony Pople Allegro moderato – Animato e deciso – Moderato – Poco largamente – Tranquillo – [Animato e deciso] – Allegro deciso – Meno mosso 7 4 Lament, H 117 (1915) 5:19 for String Orchestra Catherine, aged 9, ‘Lusitania’ 1915 Adagio, con molto espressione – Poco più adagio 5 A Prayer, H 140 (1916 – 18)‡ 17:55 for Chorus and Orchestra Andante moderato – Allegro moderato – Poco allargando – Più lento e largamente – A tempo moderato – Poco animato – Tempo I – Tranquillo – A tempo I – Tempo I ma tranquillo TT 77:01 COMPACT DISC FIVE Suite for Strings, H 93 (1909 – 10) 21:03 1 I Prelude. Moderato – Un pochettino maestoso – Allegro ma non troppo – Tempo I, tranquillo – Meno mosso e tranquillo 7:33 2 II Intermezzo. Allegretto grazioso 3:27 3 III Nocturne. Adagio molto – Un pochettino animato – Tempo I 6:09 4 IV Finale. Allegro vivo – Poco meno mosso – Tempo I 3:45 8 premiere recording 5 The Hag, H 14 (1902)§ 2:25 Song for Baritone and Orchestra Allegro molto premiere recording Two Songs of Robert Bridges, H 65 (1905 – 06)§ 6:32 for Baritone and Orchestra 6 1 I praise the tender flower, H 65a. Andante moderato – Pochettino più mosso – Tempo I 3:13 7 2 Thou didst delight my eyes, H 65b. Allegro appassionato – Moderato 3:16 Two Intermezzi from ‘Threads’, H 151 (1921 / 1938) 8:33 8 I Andante molto moderato e tranquillo 3:53 9 II Tempo di valse – Animato 4:38 Two Old English Songs, H 119 (1916) 7:30 Arranged for String Orchestra 10 Sally in Our Alley. Andante con moto – Poco tranquillo – Tempo I 4:19 11 Cherry Ripe. Allegretto con moto 3:11 9 Two Entr’actes (1906, 1926) 6:38 12 I Rosemary, H 68b. Andante espressivo e molto rubato – Allegro – Tempo I ma poco più tranquillo 3:54 13 II Canzonetta, H 169. Allegretto molto moderato e rubato – Allegro con moto – Tempo I 2:42 14 Valse Intermezzo à cordes, H 17 (1902) 6:49 No. 2 from Four Pieces for String Orchestra assembled and arranged by Paul Hindmarsh Moderato – Valse lente – Coda premiere recording 15 Todessehnsucht, H 181 (1932 / 1936) 3:53 Arrangement for string orchestra of Komm, süßer Tod, BWV 478, from Schemelli’s Musicalisches Gesang-Buch, by Johann Sebastian Bach (1685 – 1750) Lento e sostenuto – Poco più andante ma sostenuto – Largamente 16 Sir Roger de Coverley (A Christmas Dance), H 155 (1922 / 1939) 4:24 for Strings Allegro con spirito – Tempo risoluto TT 68:17 10 COMPACT DISC SIX premiere recording 1 Blow out, you bugles, H 132 (1918)# 5:37 for tenor and orchestra Allegro moderato e risoluto – Lento – Andante moderato – Andante ben moderato – Andante moderato – Recit[ando] – Andante ben moderato – Allegro, ma non troppo – Largamente – Maestoso premiere recording 2 Adoration, H 57 (1905 / 1918)# 2:55 for tenor and orchestra Molto adagio – Adagio ma non troppo – Poco a poco animato – A tempo, largamente premiere recording 3 Where she lies asleep, H 113 (1914)# 3:01 for tenor and orchestra Andante ben moderato premiere recording 4 Love went a-riding, H 114 (1914)# 1:40 for tenor and orchestra Allegro 11 premiere recording 5 Thy hand in mine, H 124 (1917 / 1923)# 2:10 for tenor and orchestra Andante moderato premiere recording 6 Berceuse, H 9 (1901)¶ 5:06 for soprano and orchestra Andante con moto – Poco più mosso – Tempo I premiere recording 7 Mantle of blue, H 131 (1918 / 1934)¶ 2:47 for high voice and orchestra Andante ben moderato – Tranquillo – A tempo 8 Day after day, H 164i (1922)¶ 4:55 for mezzo-soprano and orchestra Lento ma non troppo – Andante moderato – Poco animato – A tempo moderato – A tempo con moto ma tranquillo – Poco animato – A tempo moderato – Molto sostenuto 9 Speak to me, my love!, H 164ii (1924)¶ 5:56 for mezzo-soprano and orchestra Andante moderato – Poco a poco animato – Tempo I, ma calmato – Allegro con moto – Tempo I, ma tranquillo – Poco a poco con anima – Allegro animato – Moderato – A tempo tranquillo 12 10 Berceuse, H 8 (1901 / 1902 / 1928) 3:23 Andante con moto – Poco più mosso – Tempo I premiere recording 11 Chant d’espérance, H 18ii (1902) 3:40 No. 2 from Trois Morceaux d’orchestre Allegro moderato – Presto 12 Serenade, H 23 (1903) 2:51 Allegro grazioso – Meno mosso – Più animato – Meno mosso – Tempo I – Presto premiere recording The Pageant of London, H 98 (1911) 15:08 Suite for wind orchestra 13 I Solemn March ‘Richard III leaving London’. Tempo di marcia ma maestoso 4:41 II First Discoveries 14 1. Introduction. Moderato 2:01 15 2. Pavane. Moderato 1:49 16 3. La Romanesca [a Galliard]. Allegretto 1:04 17 III March ‘Henry VIII entering London’. Allegro marziale 5:33 13 premiere recording 18 A Royal Night of Variety, H 184 (1934) 1:27 Epilogue for orchestra Allegro moderato – Tranquillo – Moderato TT 61:14 Sarah Connolly mezzo-soprano¶ Philip Langridge tenor# Roderick Williams baritone§ Alban Gerhardt cello† Howard Shelley piano* BBC National Chorus of Wales‡ Adrian Partington chorus master BBC National Orchestra of Wales Nicholas Whiting (CD 1) • Janice Graham (CD 2, CD 3) • Lucy Gould (CD 4) James Clark (CD 5) • Lesley Hatfield (CD 6) leaders Richard Hickox 14 Bridge: Complete Orchestral Works Volume 1 Comes the mid of the night, ends for a while Frank Bridge (1879 – 1941) made his name the brooding, in Edwardian England as a chamber musician Up from the depths of the soul memories well and composer. He was admired for his songs into life. and piano miniatures, and for his tuneful Emblazened [sic] against the night more and chamber music which was described by his more real they are growing; pupil Benjamin Britten as being ‘easy on the Comes the approach of dawn and they die in ear and grateful to play’.
Recommended publications
  • Tchaikovsky's Romeo and Juliet
    Tchaikovsky’s Romeo and Juliet: A Schleiermacherian Interpretation Emer Nestor This article will discuss the application of Friedrich Daniel Ernst Schleiermacher’s (1768-1834) hermeneutical methods to a general reading of Tchaikovsky’s fantasy-overture, Romeo and Juliet. The German philosopher gave a lecture series on hermeneutics at the University of Berlin in 1819, and from his research on the subject he invariably redefined this field of philosophical thinking. The central elements of his ‘whole and parts’ theory will be discussed as an alternative mode of investigative music analysis. Richard E. Palmer presents six modern definitions of hermeneutics as follows: 1) The theory of biblical exegesis 2) General philological methodology 3) The science of all linguistic understanding 4) The methodological foundation of Geisteswissenschaften 5) Phenomenology of existence and of existential understanding 6) The systems of interpretation, both recollective and iconoclastic used by man to reach the meaning behind myths and symbols.1 The term ‘hermeneutics’ is a word which is prominent in theological, philosophical and literary circles but relatively new to the discipline of musicology.2 Ian Bent asserts that it ‘came to prominence in writing about music implicitly in the nineteenth century and explicitly in the early twentieth century’.3 He remarks that no author in the nineteenth century 1 Richard E. Palmer.: Hermeneutics: Interpretation Theory in Schleiermacher, Dilthey, Heidegger and Gadamer (Evanstown: Northwestern University Press, 1969), 3 3 - Hereafter referred to as Palmer: Hermeneutics. 2 For a more in-depth discussion of hermeneutics see Kurt Mueller-Vollmer: The Hermeneutics Reader: Texts of the German Tradition from the Enlightenment to the Present (Oxford: Basil Blackwell, 1986).
    [Show full text]
  • Elegies for Cello and Piano by Bridge, Britten and Delius: a Study of Traditions and Influences
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences Sara Gardner Birnbaum University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Birnbaum, Sara Gardner, "Elegies for Cello and Piano by Bridge, Britten and Delius: A Study of Traditions and Influences" (2012). Theses and Dissertations--Music. 7. https://uknowledge.uky.edu/music_etds/7 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2 Viola V26 N1 11/7/14 6:25 PM Page 1
    Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 101 30 Years of JAVS Features: A Survey of Hans Gál’s Chamber Works Vadim Borisovsky and His Viola Arrangements, Part I Alfred Uhl’s Viola Études Primrose’s Transcriptions Volume 30 Volume Number 2 and Arrangements Journal of Journal the American Viola Society Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 102 Viola V30 N2_Viola V26 N1 11/7/14 6:25 PM Page 1 Journal of the American Viola Society A publication of the American Viola Society Fall 2014 Volume 30 Number 2 Contents p. 3 From the Editor p. 5 From the President p. 7 News & Notes: Announcements ~ In memoriam Feature Articles p. 13 A Survey of Hans Gál’s Chamber Works with Viola: Richard Marcus writes on the Austrian composer Hans Gál, who emigrated to Great Britain due to World War II. A catalog of his chamber works with viola is provided, along with a look at various selections of these compositions. p. 27 Vadim Borisovsky and His Viola Arrangements: Recent Discoveries in Russian Archives and Libraries, Part I: In the first installment of a two-part article, Elena Artamonova provides a detailed historical context of the Russian violist Vadim Borisovsky—who, in addition to his musical accomplishments, was also a poet. p. 37 Alfred Uhl’s Viola Études: Studies with a Heart: Études have long been an indispensible part of a violist’s training, but have also been typically confined to providing technical facility. Danny Keasler looks at the études of Alfred Uhl, which include melodic aspects that can relate directly to repertoire.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • Mariastangier
    HIGH DEFINITION ORGAN ROLAND MARIA STANGIER English Town Hall Organ Philharmonie Duisburg Holst • Händel • Vierne Elgar • Bridge • Franck Gárdonyi Von Roland Maria Stangier ROLAND MARIA mit Astrologie. Das siebensätzige Werk ist aus for- STANGIER maler und harmonischer Sicht sowie in der berau- English Town Hall Organ Philharmonie Duisburg schend-virtuos gehaltenen üppigen Instrumenta- Gustav Holst tion ungemein originell. Sieben Planeten (Mars, Holst • Händel • Vierne • Elgar • Bridge • Franck • Gárdonyi „Jupiter“ aus op. 32 Venus, Merkur, Jupiter, Saturn, Uranus und Nep- tun) werden ganz subjektiv, individuell „beleuch- „Als Hauptziel sollte angestrebt werden, für Orgel tet“, „beschrieben“: „In jüngster Zeit hat der Cha- arrangierte Musik so zum Klingen zu bringen, als rakter jedes einzelnen Planeten enorm viel in mir Gustav Holst (1874–1934) | arr.: Roland Maria Stangier (*1957) Roland Maria Stangier (*1957) wäre sie original für Orgel geschrieben worden“, angeregt, und ich habe mich ziemlich eingehend 1 „Jupiter“ aus op. 32 8:23 Improvisationen schreibt Herbert Ellingford 1922 in „The Art of mit Astrologie beschäftigt“ schrieb er 1913. (1685-1759) | arr.: Henry Smart (1813-1879) 9 I „Strings“ (Streicher) 3:13 Georg Friedrich Händel Transcribing for the Organ“. Dem ist nichts hinzu- 2 „Konzert für Orgel und Orchester“ op. 4 Nr. 5 9:10 10 II „Diapasons“ (Prinzipale) 2:06 zufügen. Entsprechend sind die vielfältigen Tran- So ist hier Jupiter der Bote jubilierender Freude 11 III „Flutes“ (Flöten) 2:08 Louis Vierne (1870-1937) skriptionen von Symphonien, Chorwerken oder und nicht gestrenger Herr des Olymp und Blitz 12 IV „Reeds“ (Zungen) 3:02 3 „Claire de lune“ aus op. 53 9:05 Kammermusik zwischen 1870 und 1930 zahl- und Donner schleudernd.
    [Show full text]
  • Frank Bridge (1879-1941) Lamento Für Zwei Bratschen
    Frank Bridge (1879-1941) Lamento für zwei Bratschen Frank Bridge was a prominent figure in English music during the beginning of the 20th century. An outstanding violist and conductor, he studied under Charles Villiers Stanford at the Royal College of Music. Bridge composed in every genre, but chamber music was where he excelled, and he spent most of his life as an active chamber musician, having been a founding member of the English String Quartet. Nowadays, we remember Bridge best as the very famous composer Benjamin Britten's teacher. Britten said of Bridge, "He was most naturally an instrumental composer, and, as a superb viola player, he thought instrumentally... He fought against anything anti-instrumental which is why his own music is so graceful to play." Bridge composed two viola duets, Caprice and Lament, in 1911-1912 for a Bechstein (now Wigmore) Hall concert by Lionel Tertis and himself. Unfortunately, the manuscripts for both of these duets are now lost, but sketches for the works are housed at the Royal College of Music. The published version of Lament, which is being performed today, was constructed by Paul Hindmarsh, based on an almost complete version of the piece found in the leaves of sketch material. (Sadly, sketches for the other duet, Caprice, are not complete enough to be made into a piece that can be performed.) Because of this situation, the first performance of Lament took place on 18 March 1912, and the second, which was only able to occur post-reconstruction, was more than 65 years later on 12 February 1980.
    [Show full text]
  • Daniel Saidenberg Faculty Recital Series
    Daniel Saidenberg Faculty Recital Series Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Photo by Claudio Papapietro Support Scholarships The Juilliard Scholarship Fund provides vital support to any student with need and helps make a Juilliard education possible for many deserving young actors, dancers, and musicians. With 90 percent of our students eligible for financial assistance, every scholarship gift represents important progress toward Juilliard’s goal of securing the resources required to meet the needs of our dedicated artists. Gifts in any amount are gratefully welcomed! Visit juilliard.edu/support or call Tori Brand at (212) 799-5000, ext. 692, to learn more. The Juilliard School presents Misha Amory, Viola Thomas Sauer, Piano Hsin-Yun Huang, Viola Part of the Daniel Saidenberg Faculty Recital Series Friday, October 18, 2019, 7:30pm Paul Hall ZOLTÁN KODÁLY Adagio (1905) (1882-1967) FRANK BRIDGE Pensiero (1908) (1879-1941) PAUL HINDEMITH “Thema con Variationen” from Sonata, (1895-1963) Op.31, No. 4 (1922) ARTHUR BLISS “Furiant” from Viola Sonata (1934) (1891-1975) BRUCE ADOLPHE Dreamsong (1989) (b.1955) GEORGE BENJAMIN Viola, Viola (1998) (b.1960) Intermission Program continues Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by the Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 ELLIOTT CARTER Elegy (1943) (1908-2012) IGOR STRAVINSKY Elegy (1944) (1882-1971) GYÖRGY KURTÁG Jelek (1965) (b.1926) Agitato Giusto Lento Vivo Adagio Risoluto DMITRI SHOSTAKOVICH “Adagio” from Viola Sonata (1975) (1906-75) Performance time: approximately 1 hour and 30 minutes, including an intermission The Viola in the 20th Century By Misha Amory The 20th century was transformative for the viola as a solo instrument.
    [Show full text]
  • Symphony and Symphonic Thinking in Polish Music After 1956 Beata
    Symphony and symphonic thinking in Polish music after 1956 Beata Boleslawska-Lewandowska UMI Number: U584419 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584419 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Declaration This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signedf.............................................................................. (candidate) fa u e 2 o o f Date: Statement 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed:.*............................................................................. (candidate) 23> Date: Statement 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed: ............................................................................. (candidate) J S liiwc Date:................................................................................. ABSTRACT This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century.
    [Show full text]
  • History of Music
    HISTORY OF MUSIC THE ROMANTIC ERA Created by J. Rogers (2015) 2 GOWER COLLEGE SWANSEA MUSIC Table of Contents Romantic Era Introduction (1830 – 1910) ............................................. 4 Programme Music ........................................................................................ 5 Concert Overture .............................................................................................. 5 Programme Symphony ....................................................................................... 6 Symphonic Poem ................................................................................................. 9 Romantic Piano Music ............................................................................... 11 Lieder and Song-cycles .............................................................................. 12 Opera and Music Dramas ......................................................................... 15 Italian Opera ..................................................................................................... 15 Music Dramas ................................................................................................... 16 Leitmotifs in The Ring ..................................................................................... 17 GOWER COLLEGE SWANSEA 3 MUSIC History of Music The History of Music can be broadly divided into separate periods of time, each with its own characteristics or musical styles. Musical style does not, of course, change overnight. It can often be a gradual process
    [Show full text]
  • Late Romantic Period 1850-1910 • Characteristics of Romantic Period
    Late Romantic Period 1850-1910 • Characteristics of Romantic Period o Emotion design over intellectual design o Individual over society o Music increased in length and changed emotion often in the same piece • Hector Berlioz (1803-1869) o French composer o Known for writing for large orchestras, sometimes over 1000 musicians o An Episode in the Life of an Artist (Symphonie Fantastique) • Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. • Richard Wagner (1813-1883) o German composer and theatre director o Known for opera – big dramatic works • Built his own opera house in order to be able to accommodate his works • Subjects drawn from Norse mythology o Lohengrin – Bridal Chorus o Die Walkure • Franz Liszt (1811-1886) o Hungarian composer and virtuoso pianist o Used gypsy music as basis for compositions o Created modern piano playing technique o Invented the form of Symphonic Poem or Tone Poem Music based on art, literature, or other “nonmusical” idea One movement with several ‘ideas’ that move freely throughout the piece o Hungarian Rhapsody No.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • A Structural Analysis of the Relationship Between Programme, Harmony and Form in the Symphonic Poems of Franz Liszt Keith Thomas Johns University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt Keith Thomas Johns University of Wollongong Recommended Citation Johns, Keith Thomas, A structural analysis of the relationship between programme, harmony and form in the symphonic poems of Franz Liszt, Doctor of Philosophy thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/1927 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] A STRUCTURAL ANALYSIS OF THE RELATIONSHIP BETWEEN PROGRAMME, HARMONY AND FORM IN THE SYMPHONIC POEMS OF FRANZ LISZT. A thesis submitted in fulfilment of the requirements for the award of the degree of DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by KEITH THOMAS JOHNS (M.Litt.,B.A.Hons.,Grad.Dip.Ed., F.L.C.M., F.T.C.L., L.T.C.L. ) SCHOOL OF CREATIVE ARTS 1986 i ABSTRACT This thesis examines the central concern in an analysis of the symphonic poems of Franz Liszt, that is, the relationship between programme,harmony and form. In order to make a thorough and clear analysis of this relationship a structural/semiotic analysis has been developed as the analysis of best fit. Historically it has been fashionable to see Liszt's symphonic poems in terms of sonata form or a form only making sense in terms of the attached programme. Both of these ideas are critically examined in this analysis.
    [Show full text]